Following the glitzy Quentin Tarantino's ethics of depiction of crime world, YRF takes another stylish turn into upbeat multiplex cinematic works through BADMAASH COMPANY. It is substantially high on its 'style-quotient' and all it demands is equally tantalizing musical outburst that can create 'word-of-mouth' among youngsters. Pritam did this for YRF twice in DHOOM and DHOOM-2 that later became a rage among listeners. After super-successful crime-thriller KAMINEY, the flick is heavily fuelled high with Shahid Kapoor's sinisterly designed stylish character that is matched to perfection with bold avatar of promising Anushka Sharma. Can this company of 'Badmaash' be reaping profits on its musical balance-sheet? Let's check out the values of its 'assets' and 'liabilities' by going through the baggage of its musical contents. The expectations are humungous and feel is modishly high as we press to the 'play' button....

Loud bass guitar strumming, maddening electronica disco feel and squeamishly loud vocals collage for sequence of eventful roguish happening in 'Ayaashi'. It brings out different shades of KK-Pritam's conglomerate with mix and match of hip-hop and 'death-rock' metal appeal making its diversified presence with thumps of electronic beat patterned arrangements. Well suited for flashy engaging moments, this brings out 'B' worded verbatim (Beparwah, Behaya, Befikrey and Badmaashi) for dark-noir cinematic appeal in its first few one-liners and connects well with the theme of the flick. KK's sports an all-together different vocal rendition in backdrop of frantic chorals that gives it an overtly high urbane outlook. For its experimental maneuvers in arrangements and rendition, it will have mixed reactions and all it desires is a set of eye-goggling SFX moves that can really set the screen on fire.

The tempos are raised; temperature gets soaring high with invigorating disco-beat fillers mixing with energized thumping 'club-remix' appeal in 'Ayaashi (remix)'. It's a typical discotheque number that should be encouraging pep-factor for flicks in promos and teasers.

The next one is 'Jingle Jingle' that glorifies SMS-ing style of lyrical writing in tuneful setting of 'bhangra' beat music in format of conventional nursery rhyme ('Jingle Jingle...'). It's like spicing of tracks like 'Chand Taare' (YES BOSS), 'Sabse Bade Rupaiyee' (BLUFFMASTER) with overtly heard arrangements, wishy-washy wordings, highlighting the sky-high aspirations of the youth-brigade. Pritam's composition sounds average with mediocre 'bhangra' beat impulse and sounds like tailor-made situational soundtrack. Unlike 'Masakali' (DELHI-6), this time Mohit Chauhan's innovative singing style couple with snazzy emceeing fails to impress and makes this as average situational score.

Following the infectiously loud sinister feel of chartbusting 'Dhan Te Nan' (KAMINEY), Pritam tries to recreate the 'baddies' enjoying their lifestyles in average sounding 'Chaska'. The feel of getting 'addicted' ('Chaska') with goodies of life comes out with relatively sluggish tempo arrangements and extremely loud auto-phonic instrumental appeal. Krishna's extra thriving voice sounds wasted with irritating synths, routine guitar riffs and disarrayed drumming, giving it out an weary outlook. Anvita Dutt's tangy lyrics try to inspire Gulzar's style of writing but fall short to bind the impish feel in this mediocre sounding composition.

'Chaska (remix)' is the accelerated version with no great hiccups. It sounds better than the original version and pumps out extra enthused energy in its enthralling beat-juggles and fillers.

Pritam's strongest forte (the racing rock-concert feel) sublimes into textures of sentimentalism Sufi-rock to generate out an innovative feel in 'Fakeera'. It tries to match up in tonality of 'Ya Ali' (GANGSTER) in its sinisterly racy impulse and the rejuvenating feel of 'bad-turning-good' in 'Hain Tu Haan' (JANNAT). Like all previous tracks, it again falls short of desired entertaining composition and it's all up to the impressive clubbing of distorted guitar riffs and percussions that sets the pulses racing high in middle interludes. After extremely exhilarating 'Rishtey Naatey' (DE DANA DAN), Rahat Fateh Ali Khan tries different again and toils too hard on speedy rock-track by singing vociferously in hi-pitched rendition. Lack of catchiness, unimpressive melancholic appeal makes this as another average sounding situational soundtrack.

Like many previously released stylish action flicks (DUS, RACE, DHOOM-2), this hi-octane thriller pulsates out with its signature feel title track titled 'Badmaash Company'. There is languishing feel of typical Bond film theme track in its hi-pitched horn sounds that hits high at intermittent places. Benny Dayal's frolicking rendition pumps up ire of devilish company gunning out for riches in modest sounding wordings. Pritam misses the bus again and there is something lacking in pep-fuzz that was there in his previously composed 'Dhoom Machale' (DHOOM) or 'Race Saanson Ki' (RACE). There is snooty hip-hop emceeing and boisterous chorals that enlightens up and entertains to some extent. For all Bond flick's lovers, it can be listening delight but there is hardly any spark that can make it out an everlasting anthem from the ever-promising composer.

BADMAASH COMPANY accompanies a pack of mediocre sounding trendy tracks that are filled with pulsating beats and sounds but lacks the kill of hitting high on charts. It's a rare disappointment from Pritam with hardly any soundtracks showing any zeal or promise. Among the listing of credited soundtracks, 'Ayaashi' stands the tallest while rest of them demands aesthetically crafted visual displays to set pulses high with its rigorously punched music. Despite all gloss and glitz in its kitty, it has certainly not met with the high expectations of YRF's age-old tradition of lively musicals and will be just add-on in the listing of this year big releases.